What We Do

Scripted Ink. is an innovative, not for profit organisation that aims to shape, build and invest in the Australian screen industry by creating new ways for script development.

Incubating and accelerating quality Australian writers and their screenplays through direct development funding; showcasing them to production companies, broadcasters and investors and assisting in brokering commercially and creatively successful partnerships.

Scripted Ink. focuses on bringing commercially viable scripts and great writers to an industry hungry for both. It works with strategic partners in the Australian film and television industry identifying, incubating and developing talent; acting as a catalyst facilitating commercial exposure and opportunity; and ensuring that writers are properly recognised and rewarded for the successful exploitation of their work. A joint venture between Shane Brennan and the Australian Writers’ Guild, Scripted Ink. builds on the infrastructure and track record of the Australian Writers’ Guild’s Pathways Program to identify talent, invest in that talent and bring it to the market place.

Media

May 6, 2019

Scripted Ink is excited to announce that Talent Camp is now open for submissions.
Talent Camp is a national workshop program designed to provide skills development opportunities for emerging storytellers and screen content creatives from diverse backgrounds across the country. In 2019, AWG is a key project partner of Talent Camp through the Scripted Ink program.
The 2019 Talent Camp focuses on episodic narrative, both short and long form, with pathways for emerging talent to develop their own web series, find employment in television series and further their education and experience in screen.
We are seeking applications from creatives from under-represented communities with reference to cultural background, disability, sexual orientation, gender identity, geographic and/ or socio-economic circumstance. Aboriginal and Torres Strait Islander creatives are strongly encouraged to apply.
The last edition of Talent Camp was incredibly successful. Watch a clip of two Victorian participants talking about their Talent Camp experience (courtesy of Film Victoria) HERE.
The week long workshops are free, and regional participants will receive financial support for travel and accommodation. For more information, head to the AFTRS page with submission info HERE.
Please share this far and wide, we want lots of applicants! Applications close May 31.

April 12, 2019

TREATMENT IN EARLY STAGES OF DEVELOPMENT WITH SCREENTIME

April 12, 2019

Matt Ford (Love Child, House Husbands, Satisfaction) has been named as the winner of the inaugural Hothouse Drama Program established to cultivate original projects, generated by writers, for Australian television.
Finalists Jacklyn Bassanelli (creator of Evergreen and script intern on Wentworth S7), Jessica Brookman (Nowhere Boys, The Secret Daughter, Neighbours) and Matt Ford each developed two story ideas under the auspice of not-for-profit, screen development company Scripted Ink., production house Screentime (a Banijay Group company) and media company Nine. At the end of the brainstorm process the writers pitched their drama concepts - with Matt Ford’s story idea Alice Black being chosen to go into the next stage of development with Screentime.
Screentime’s Executive Chairman Bob Campbell said: 'This initiative has generated many great new drama ideas from three very talented writers. We are looking forward to working with Matt as his concept titled Alice Black goes into the next phase of early development.'
Scripted Ink.’s Jacqueline Elaine said they were thrilled by the results of the Drama Hothouse, in particular the time and money put in by Screentime for the six-week development process: 'This kind of investment in screenwriters is what fuels the creation of high-quality Australian drama and we’re delighted that six new projects have had this opportunity through the Hothouse Initiative. It’s been exciting to have Nine involved in this process, including selecting the final winner, and to see how Scripted Ink can work in collaboration with the industry to create real opportunities for writers.'
'I'm excited - this has been a fabulous opportunity and I want to thank everyone -- Screentime, Nine, and especially Jessica and Jacklyn. I've loved working with them and I really hope we can work together again very soon,' said Matt Ford.
The Hothouse Writers Program was open to selected members of the Australian Writers’ Guild Pathways Program, with other experienced writers of one-hour dramas and narrative comedies also invited to apply.
The successful candidates were paid industry rates to convene in a writers’ room for three days per week over six weeks, with executives from all three partner organisations providing guidance and feedback throughout the process.
For more information:
Shannen Usher
Communications Officer, AWG
02 8036 6009
shannen.usher@awg.com.au
Catherine Lavelle
CLPR for Screentime
0413 885 595
Catherine@clpr.com.au
Nic Christensen
Head of Corporate Affairs, Nine
0404 460 607
nchristensen@nine.com.au

March 15, 2019

Scripted Ink continues to revolutionise the way quality Australian writers and their projects find their way to the marketplace as it backs the New York launch of Pathways Showcase next week.
Scripted Ink Chair Shane Brennan (NCIS: Los Angeles) and CEO Jacqueline Elaine officially launch the Showcase at the Australian International Screen Forum (AISF) in the Big Apple next Thursday, showcasing peer-reviewed, curated, high-potential unproduced project ideas to US producers from a mix of Australia’s most successful screenwriters and most exciting emerging talent.
The brainchild of philanthropists Chris and Francesca Beale, the second annual AISF is a four-day screen industry summit, conference and film festival which aims to facilitate collaboration between the visiting Australian professional delegations and local US and international screen industry decision-makers.
AISF’s line-up of impressive ambassadors includes Hugh Jackman, Deborra-Lee Furness, Catherine Martin and Baz Lurhmann, with Lurhmann to preside over ‘Pitch Royale’, a series of competitive rounds of live-pitching, where the all-Australian Showcase will be launched.
The rounds will culminate in a final pitch to a high-profile panel comprising Baz Lurhmann and Catherine Martin (The Great Gatsby, Moulin Rouge!), Shane Brennan (NCIS: Los Angeles) and Jason Blum (Get Out, Blackkklansman). Industry delegates will be given a preview of the Showcase prior to the live pitching sessions.
For more information on the forum, access https://www.australianscreenforum.org/.
To check out the Pathways Showcase, go to http://www.awgpathways.com.au/.

December 18, 2018

After two and a half years as Scripted Ink’s Head of Development, Tim Pye has announced that he is leaving the company at the end of December to continue his writing / producing career. In his time with Scripted Ink, Tim has curated and mentored the development of numerous original film, television and web series projects by writers on the AWG Pathways Program. He has also provided a huge number of opportunities for emerging writers to take part in writers’ rooms and, through the Scripted Ink Travel Grant and Internship Programs, supported many writing careers.
Scripted Ink chairman, Shane Brennan, praised Tim Pye’s commitment and dedication to getting the not-for-profit up and running, stating, “His years of experience as a writer, producer and manager were critical in selling the Scripted Ink message that writers matter."
“Tim has been instrumental in shaping the way producers and funding bodies view writers and their critical importance in the development process. He has been unstinting in the time he has spent nurturing and developing writers and has been instrumental in helping writers understand their rights as creators,” said Brennan.
"What an enormous privilege it’s been to work as Scripted Ink’s Head of Development. Truly amazing. And what an opportunity to work so closely with such incredible writing talent and to find opportunities to progress the careers of wonderful writers. I cannot thank the board enough for their unwavering support over the last two and a half years. I’m particularly grateful to Shane and Cathryn Brennan, whose astonishing generosity enabled the creation of the Scripted Ink screen development company. It is an initiative unique in the world and I’m incredibly proud to have been part of it. I know that under the board’s excellent stewardship, the company will continue to create opportunities that exist nowhere else in the world for screen writers,” said Pye.
“On behalf of all the Board, I would like to thank Tim for his longstanding and passionate commitment to writers and to Scripted Ink,” said CEO Jacqueline Elaine. “We are incredibly fortunate that Tim took on the role during this crucial establishment phase. We simply could not have done it without him.”
The Scripted Ink Board wish Tim every success in his return to writing and producing and we look forward to working further with him as a consultant as Scripted Ink continues the important work of helping writers get their material to market.
The Scripted Ink Board
Shane Brennan, Jacqueline Elaine, Jan Sardi, Sigrid Thornton and Kim Williams AM.

November 8, 2018

Scripted Ink. is thrilled to announce development investment in, Sleep to Dream, the latest feature film project from AWG Pathways writer, Nick Verso.
Sleep to Dream follows the life of a troubled teenager who uncovers a sinister world of hidden power and ancient evil, when being invited to attend a prestigious yet mysterious boarding school. Nick has been working on this project for a number of months, with the assistance of the acclaimed writer, director and script editor Shane Krause (Bait, The Contents, Acolytes).
After achieving international success with his 2016 feature Boys in the Trees, Nick is excited by the prospects for his latest film project. "I'm thrilled to be supported by such a progressive and innovative program. I look forward to learning from a genre-master like Shane and diving into this universe that's been haunting me."
Shane Krause said "I'm deeply impressed and encouraged by the canniness of Scripted Ink to back such a fresh and original genre project by the highly talented filmmaker behind BOYS IN THE TREES. I look forward to working with Nick to assist him in delivering a screenplay that is worthy of his prodigious cinematic gifts. "
Tim Pye, Scripted Ink's Head of Development has high hopes for Sleep to Dream. "Creating opportunities for talented writers like Nick is an exciting privilege. It is a tantalising prospect to imagine what a team like Nick and Shane can deliver", he said.

Currently Funded

Peter Mattessi

Just Another Week in Suburbia

Just Another Week in Suburbia

A dedicated teacher and an aspiring politician are forced over 7 wild days to confront one question: can you be married to someone for 7 years without ever falling in love?

Kym Vercoe & Arky Michael

Mrs Burswood

Mrs Burswood

An elderly suburban woman finds a new lease on life after a chance meeting with two Bengali tailors.

Mithila Gupta

Salsa Masala

Salsa Masala

Asha defies her father to escape to India and become a Bollywood dancer – only to realise that he might be the key to connecting with her culture and star potential.

Tim Spencer

Friend Mode

Friend Mode

When an artificially-intelligent fridge is sold to a morose ex-lawyer
he sets out to reclaim his beloved old family whilst avoiding his new owner’s spectacular self-implosion.

Tavis Urquhart

The Last Crop

The Last Crop

In post-apocalyptic America, a former biologist and her son are forced to join a secretive commune or face starvation, only to discover the cult’s intentions are far worse…

Sam Meikle & Chris Smyth

Ex-U

Ex-U

The long arm of the law. For foreign fugitives hiding here. For Australians fleeing overseas. True justice knows no borders.

Nick Verso

Sleep to Dream

Sleep to Dream

When a troubled teenager is invited to attend a prestigious though mysterious boarding school, he uncovers a sinister world of hidden power and ancient evil.

Chris Aronsten

The Recogniser

The Recogniser

When a young woman with an extraordinary talent is arrested, she finds herself trapped into working for the police in order to avoid jail, and forced into taking control of her brother’s criminal enterprise in order to avoid suspicion.

Michelle Offen & Kristen Dunphy

Traces Of Nuts

Traces Of Nuts

Helicopter parents wrestle for control of the P&C, the tuckshop menu and hapless staff in a bid to guarantee their nut free, lactose-intolerant childrens’ success.

Katherine Thomson

Helena

Helena

In 1928 Helena Rubinstein is at the height of her powers, with famous salons in Melbourne, London, Paris and New York all booming. The first businesswoman to beat the men of Wall Street at their own game, Helena faces a challenge that forces an incredibly difficult decision: give up control of her empire or lose her marriage with Edward Titus and her children.

Cathy Strickland

Exit This Way

Exit This Way

A wilfully ambitious first year intern enters the hospital system determined to save lives, only to find herself in palliative care where she helps to end them.

Brendan Luno

Private Universe

Private Universe

When a physics experiment goes wrong, Simon Morales finds himself flipping between his current reality and a parallel universe where his dead wife is alive again.

Justin Monjo

Three Crooked Kings

Three Crooked Kings

The explosive true story of searing greed, crime and corruption in the Queensland police.

Jacklyn Bassanelli

Preconception

Preconception

When a late-thirties jobbing actor, with a weakness for booze and musicians, is cast with a teenage daughter, she decides to test her own fertility.

Warren Coleman and Stephen Abbott

Dear Evelyn

Dear Evelyn

Fictional characters can live forever – can’t they?

Ellie Beaumont

Vestal Virgins

Vestal Virgins

Vestal Virgins is a reimagining of ancient Rome from a female perspective. A story of friendship, betrayal, sisterhood and female empowerment set against the epic backdrop of Imperial Rome.

Nir Shelter and Tai Scrivener

God's 17

God's 17

After finding the innate truth in all of the major religions, we combined them into the one true path and now dedicate our lives to sharing this knowledge with all – we know that believing in something makes it a fact. If your soul has been soiled by the skid marks of other religions, we have the spiritual Napisan to cleanse your eternal undies.

Matt Ford

The Surgeon's Knife

The Surgeon's Knife

Mia’s a brain-surgeon. Smart, obsessive, with nerves of steel – she excels in her work. The only thing in her way is a bunch of men. So she begins to murder them, one by one.

Ella Roby & Lachlan Marks

Small Town - Television Series

Small Town - Television Series

A suspected murder, a series of unexplained disappearances and a strange new drug bring a journalist, a cop and an addict together on a surreal and dangerous investigation into a sinister subterranean cult run by children.

The Creeps - Television Series

C.S. McMullen

Awake - Television Series

Awake - Television Series

In a near­‐future society where the richest 1% don’t have to sleep, the elite work and play on a 24‐hour cycle. When Alex Chase, a hard‐partying lawyer, starts to lose time, she worries that this new technology is making her commit crimes that she doesn’t remember. As she investigates, her perfect world starts to unravel, and she begins to question what is real.

She’s tired, paranoid and hallucinating – and being set up for a spectacular fall.

Jane Hampson

Tigress – Feature Film

Tigress – Feature Film

In late-1980s Sri Lanka, an idealistic middle-class Tamil teenage girl breaks free
of her repressive household by joining the first-ever female brigade of the militant Tamil Tigers. After a difficult induction she proves herself in training and wins the affection of her unit commander, but after her platoon is wiped out and her best friend killed in an ambush, she starts to question her allegiance to the cause.

Matt Ford

Shining Light – Television Series

Shining Light – Television Series

Patrick Lamb is a brand new priest – young, smart, driven. His one small problem: he doesn’t believe in God.

Heather Wilson

Another Time – Feature Film

Another Time – Feature Film

Tom’s just been dumped by fiancée Liv. But a twist of fate finds Tom buying a magical Indian beer that propels him back in time to the night they first met. Now with the chance to rewrite history, Tom sets about trying to change the past with the help of friend Shaun, only to discover fate’s harder to control that expected.

Alexei Mizin and Ryan van Dijk

Meridian – Television Series

Meridian – Television Series

Following an ordinary flight from Dallas, passengers of flight
UA47 land in Sydney to discover that their aircraft has been
missing for ten years. Confronted with a world long moved on
from the presumed tragedy, they’re forced to reconcile the
miracle of their return against the rigid limits of human
understanding. Against the backdrop of the greatest single
event in history, one man embarks on a dangerous quest for
truth only to discover that it may well be his undoing.

Jacklyn Bassanelli

Evergreen – Television Series

Evergreen – Television Series

When an Australian mining settlement on Mars loses contact with Earth, and the communications technician is found dead on the surface, a young, uncompromising astro-biologist must overthrow the treacherous leadership of the mining CEO and orchestrate the survival of the first human colony in space.

Eloise Healey & Jessica Brookman

Black Creek – Television Series

Black Creek – Television Series

Matt Gallagher is a party-boy and a notoriously unreliable cop in his hometown of Black Creek. When his father Jack, a former police chief and now local mayor, is found dead, Matt feels responsible and refuses to believe the coroner’s verdict of suicide. Convinced someone murdered his father, Matt sets out to discover the truth. But that’s not easy when his boss doesn’t want to rock the official boat and everybody in Black Creek has something to hide – including the members of Matt’s own family.

Harry Aletras

Martingale – Feature Film

Martingale – Feature Film

Martingale is an investigation into the morality of action and Free Will in the likeness of a traditional Thriller. Finnegan Wallace is a 32 year old philosophy lecturer and compulsive gambler with a nihilistic outlook. On the brink of losing his pregnant girlfriend and his job, Finnegan is forced into an international drug-smuggling ring by an underworld boss to repay his mounting debts. When he faces the abhorrent world of the drugs and sex trade, Finnegan must realise that he is free to choose a path of moral responsibility.

FAQs

Scripted Ink has been created with the purpose of building the Australian screen industry by rewarding scriptwriting talent in such a way that respects, rewards and harnesses the full value of writers in the creative process. Independent research commissioned by Scripted Ink. demonstrates the gap between Australia’s approach to, and investment in, scriptwriters and script development with that of the U.S. and the U.K. and the attendant correlation between script/writer-focussed development and success.

The creative contribution of writers, their creative vision, their commitment to story, and their experience in their craft provide the foundation for successful production. Investment in this crucial and cultural capital is key to the creative and commercial success of our industry and our stories.

Scripted Ink. incubates and accelerates quality Australian writers and their screenplays through direct development funding; showcasing them to production companies, broadcasters and investors and assisting in brokering commercially and creatively successful partnerships. The type of support offered to Australian writers through Scripted Ink. will vary from case to case and be individually tailored to the particular writer and his or her project.

Examples:

Experienced scriptwriter Kate has a great idea for a television series that’s “hot” and, after being long listed on Pathways, has secured strong interest from a production company. Scripted Ink. may invest $20,000 in Kate’s first draft script. Scripted Ink. may also co-invest $75,000 in a “writers room”, funding a team of writers to brainstorm, plot and write three more draft scripts and a series bible.

Emerging scriptwriter Oliver has a draft script that has great potential but needs work.Scripted Ink. may offer Oliver a place in its incubator program, investing $30,000 in his next draft while also funding an experienced mentor to help him develop his script.

Lisa’s television project has been long listed on Pathways and her writing skills have attracted the attention of a production company or broadcaster that is interested in developing her potential as a staff writer and / or showrunner on other projects. Scripted Ink. may provide $50,000 to pay Lisa a living wage while working as an intern in the production company.

Michael is a teacher by day, scriptwriter by night. He’s written a brilliant script for a film. Scripted Ink.’s partnership with Pathways can assist Michael in negotiating a commercial deal with a producer or selling an option in the script ensuring that he gets a fair deal for his work.

To be considered for Scripted Ink. support, writers first need to be invited to join the Australian Writers’ Guild’s Pathways Program after having their original works peer-reviewed.

Australian Writers’ Guild’s members are regularly invited to be considered for the Pathways Program via a number of different channels. The Australian Writers’ Guild’s Pathways Program provides a valuable springboard for writers to develop and commercialise their unproduced original works. This is being further expanded to create opportunities for experienced and emerging writers alike to have their original works considered by Scripted Ink.

Producers, broadcasters and other investors will be invited to invitation-only networking events and pitching opportunities with high-potential scriptwriters. Scripted Ink. assists parties in entering into commercial arrangements, including options and deals that provide sufficient flexibility and exclusivity.

Partnerships between producers and broadcasters and scriptwriters will enable them to gain competitive advantage in the current highly competitive global screen industry while ensuring original creators are given the creative and financial role crucial for success.

To qualify for investment by Scripted Ink. in projects they wish to option, production companies and broadcasters will be required to offer writers minimum terms and conditions, in keeping with the industry agreements that have been negotiated by the Australian Writers Guild and the Screen Producers Association.

Scripted Ink. values relationships with Federal and State government funding bodies, reinforcing the value of its services in the marketplace where the identification and bringing to market of high-potential scriptwriters is inherently complex. It will play a critical role in lobbying the Australian Government for support for scriptwriting and innovation in the Australian screen industry. Scripted Ink. seeks partnerships; creative, practical, and financial and will use its investments as catalysts to trigger funding from other industry and government partners.

Scripted Ink. development investment funding is provided in the form of recoupable investment. This recoupment is payable when and if the funded project is produced, on the first day of principle photography.

Many writers sign option agreements and assignment deeds that do not adequately reward them for their creativity. When considering terms and conditions in option agreements and assignment deeds, Scripted Ink. will take into account the following considerations:

OPTION AGREEMENT

Experience of the writerScripted Ink. expects that the terms and conditions of any option agreements for projects in which it invests should be tailored according to the experience of the writer.

Option termScripted Ink. understands that Producers need time to work with the writer to develop the script and development materials, find market attachments and to raise finance. The option periods into which this time is divided and the number of extensions of these option periods are important factors in Scripted Ink.’s considerations. Granting an exclusive option to a producer means the writer is relinquishing the opportunity to shop their project to others in the marketplace for the option term, so it is important that this option term and any extension period is reasonable in all circumstances and that the Option Fee is adequate compensation for relinquishing this right for the option period.

Option feesAt the beginning of each option period, the writer should be paid an equitable fee for granting an exclusive option to the producer. The degree to which these fees are considered to be fair and reasonable will be determined according to the nature of the project, the progress required in order to trigger an extension, the level of investment the Producer is bringing to the project, the level of interest in the project in the marketplace, the experience of the writer and the experience of the producer.

Investment by the Producer
Scripted Ink. expects producers, who are optioning projects funded by Scripted Ink., to bring some investment to the table. Such investment may come in the form of direct financial investment into the project for further development materials and marketplace attachments, option fees, facilities, co-investment arrangements and creative input (brainstorming/plotting etc.).

Development Schedule & Budget
Scripted Ink. recommends the writer and producer agree on a development schedule and development budget prior to embarking on development of the project. A producer should have obligations during the development period including using reasonable efforts to develop the project with diligence, commitment to pitching the project in the marketplace, packaging, facilitating workshops, plotting and brainstorming, applying for further development and production funding and the delivery of development materials and further drafts.

Future creative involvement of the writer(s)
Scripted Ink. expects writers, who have created original concepts, to be guaranteed ongoing creative involvement in their projects. Such involvement should be commensurate with the writer’s level of experience and should range from a right of meaningful consultation on key creative elements of the project and a right to write development materials and further drafts, to producer credits and associated entitlements.

Fees for Development Services
Writers should be paid fees commensurate with their experience and in accordance with AWG recommended minimums for services provided during the development period, especially where the Producer has received government funding.

Rights Reversion
Scripted Ink. expects rights reversion clauses in option and assignment agreements to state that in the event that the option is not exercised within the option term or principal photography has not commenced within a specified period the rights to the original work revert to the writer at no cost.

Use of Development Materials
Scripted Ink. is of the view that it is in nobody’s best interest for a project to be unable to proceed with another producer in the event the optioning producer is unsuccessful in having the project made or commissioned within the option term. As the creator of the original work, the writer should be permitted to take the project back into the marketplace to seek opportunities with other producers and any repayment of the original Producer’s development costs should not come from the writer. Rather, these costs should be paid from the production budget of the first film or series based on the work and be limited to reasonable and verifiable amounts actually paid by the Producer directly attributable to the project (excluding any amounts received from state or federal funding bodies).

AssignmentProducers should not be able to assign any of their rights under the option agreement without the prior written consent of the writer.

ASSIGNMENT DEED

Rights assignment
Scripted Ink. expects all option agreements to be accompanied by an assignment deed which clearly sets out the terms upon which the copyright in the project is to be assigned if the option is exercised. Scripted Ink. does not recommend the inclusion of clauses which require a writer to sign the assignment deed at the same time as the option.

Creator Entitlements for Original Concepts
If the writer has created the original concept they are entitled to fees, revenue share, contingent compensation and credit entitlements which are additional to what they should receive as a writer. Highly experienced creators should also insist on Producer credits and entitlements.

Writer’s revenue share
Scripted Ink. expects writers, who have created original concepts for film or telelvision, to share in the revenue streams that flow from those projects on a pari passu basis with producers and other investors. It is also expected that those writers will receive a percentage of production budgets for any prequels, sequels, remakes or spin-offs.

Contingent compensation
Writers are entitled to contingent compensation for subsequent films and series and merchandising.

Reassignment of rights
If commissioning has not occurred or if principal photography has not commenced within a specified period, the Writer is entitled to a re-assignment of rights in the work, the development material and any script based on the original work or development material. The Producer’s development costs should not come from the writer. Rather, these costs should be paid from the production budget of the first film or series based on the work and be limited to reasonable and verifiable amounts actually paid by the Producer directly attributable to the project (excluding any amounts received from state or federal funding bodies). The Producer should also give effect to the reassignment of rights by signing a quit claim.

Collecting Society Payments
Scripted Ink. insists on the verbatim inclusion of the collecting society clauses recommended by the AWG to ensure the writer’s entitlement to statutory royalties is respected.

Moral Rights
The Australian Film Industry Moral Rights Consent Accord (as amended from time to time) should apply.

Who We Are

Shane Brennan

Founding Board Member

Shane Brennan is an Australian writer and producer who has become one of the most successful television drama producers in America. In 2007 he became the first Australian writer to become the showrunner of a U.S. network television drama series when he took over as Executive Producer on the CBS series NCIS.

Shane Brennan

Shane Brennan is an Australian writer and producer who has become one of the most successful television drama producers in America. In 2007 he became the first Australian writer to become the showrunner of a U.S. network television drama series when he took over as Executive Producer on the CBS series NCIS, which went on to become the number one scripted drama on network television and is now entering its thirteenth season. While running NCIS, Brennan created the hit spin-off NCIS: Los Angeles, which became the number two scripted drama on network television. Both NCIS and NCIS: Los Angeles are seen in more than 200 countries and have become two of CBS Studios most successful shows in the last decade.

Shane, who has his own production company in Hollywood, has numerous projects in development, his latest the television adaptation for the Fox network of the hit feature franchise The Expendables. Shane’s other credits include King & Maxwell (Creator-Executive Producer); One Tree Hill (Co-Executive Producer); CSI: Miami (Supervising Producer); and Summerland (Supervising Producer). Prior to moving to Los Angeles in 2003, Shane worked on numerous Australian television series including The Man From Snowy River: The McGregor Saga, Stingers, All Together Now, Law of the Land, Tales of the South Seas and The Flying Doctors.

Shane has won numerous national and international awards, including two Australian Writers’ Guild Awards for Best Television Series and Best Situation Comedy; a Penguin Award for Best Television Series Episode; an Australian Film Institute Award for Best Mini-Series; and a Chicago Film Festival Award, also for Best Mini- Series. He has been nominated five times for Australian Writers Guild Awards. In 2009, Shane was awarded the prestigious Television Showman of the Year award by the International Cinematographers Guild. Born in Australia, Shane is a journalism graduate.

Jacqueline Elaine

Founding Board Member

Jacqueline is the Executive Director of the Australian Writers’ Guild. She sits on the Audiovisual Executive Committee of the International Confederation of Authors and Composers Societies(CISAC). Her previous executive positions include Director of the Whitlam Institute, Director of the European Network on Debt and Development.

Jacqueline Elaine

Jacqueline is the Executive Director of the Australian Writers’ Guild. She sits on the Audiovisual Executive Committee of the International Confederation of Authors and Composers Societies (CISAC). Her previous executive positions include Director of the Whitlam Institute, Director of the European Network on Debt and Development, Director of Marketing and Communications for CARE Australia and Director Development, World Development Movement. Jacqueline was Vice Chair of the Board of the Australian Copyright Council, Chair of the Board of Jubilee Australia and the Jubilee Research Institute, Chair of TREEAID, Founding member of CIDESC – an International Centre on Social Cultural and Economic Rights and Member of the Board of the National Foundation for Australian Women. Jacqueline has a Masters in International Studies – International Law and Economics from the University of London SOAS.

Jan Sardi

FOUNDING BOARD MEMBER

Jan Sardi is one of Australia’s eminent screenwriters. In 1997 he received an Academy Award nomination for his screenplay for Shine, as well as BAFTA, Writers Guild of America and Golden Globes nominations. He has won numerous awards for his work in film and television.

Jan Sardi

Jan Sardi is one of Australia’s eminent screenwriters. In 1997 he received an Academy Award nomination for his screenplay, Shine, as well as BAFTA, Writers Guild of America and Golden Globe nominations. He has won numerous awards for his work in film and television. Other credits include Love’s Brother, an award-winning Australian/UK co-production which he also directed. He adapted the hit films The Notebook and Mao’s Last Dancer for the screen, as well as the highly acclaimed miniseries The Secret River (written with Mac Gudgeon), based on the novel by Kate Grenville. Jan is a member of both the US Academy of Motion Picture Arts and Sciences, and the British Academy of Film and Television (BAFTA). He is a former President of the Australian Writers’ Guild and current Vice President. He is the Chair of the Australian Writers’ Guild Authorship Collecting Society and has previously served on the Board of Film Victoria. Jan’s service to writers and the screen industry has been recognised by Film Victoria with the ‘Jan Sardi Award For Achievement In Screenwriting’, an award presented annually to a writer by the Victorian State Government.

Sigrid Thornton

Board Member

An icon of the Australian screen, Sigrid Thornton has starred in many of the films now regarded as classics of the Australian cinema. They include George Miller's box office hit The Man From Snowy River (Fox Classics), The Lighthorsemen (RKO), directed by Simon Wincer, Slate Wyn and Me (Hemdale) and The Man From Snowy River II (Disney – Touchstone). Her stellar television career highlights include the Australian landmark series SeaChange for ABC TV, The Boy in the Bush for UK’s Channel 4 opposite Kenneth Brannagh and BBC - ABC Co Pro The Far Country opposite Micheal York. Sigrid’s miniseries 1915 for BBC - ABC was followed by HBO’s highly acclaimed All The Rivers Run and Paradise / Guns of Paradise for CBS in the US. Ratings winner Little Oberon, Underbelly – The Golden Mile, Peter Allen– Not The Boy Next Door, The Code & Wentworth continue to consolidate her unique position in the Australian film and television landscape.

Sigrid Thornton

An icon of the Australian screen, Sigrid Thornton has starred in many of the films now regarded as classics of the Australian cinema. They include George Miller’s box office hit The Man From Snowy River (Fox Classics), The Lighthorsemen (RKO), directed by Simon Wincer, Slate Wyn and Me (Hemdale) and The Man From Snowy River II (Disney – Touchstone). Her stellar television career highlights include the Australian landmark series SeaChange for ABC TV, The Boy in the Bush for UK’s Channel 4 opposite Kenneth Brannagh and BBC – ABC Co Pro The Far Country opposite Micheal York. Sigrid’s miniseries 1915 for BBC – ABC was followed by HBO’s highly acclaimed All The Rivers Run and Paradise / Guns of Paradise for CBS in the US. Ratings winner Little Oberon, Underbelly – The Golden Mile, Peter Allen – Not The Boy Next Door, The Code & Wentworth continue to consolidate her unique position in the Australian film and television landscape.

All The Rivers Run proved a hugely popular miniseries throughout China, Eastern and Western Europe (Sigrid was awarded top foreign personality in Sweden). Veteran producer of Dallas and Knots Landing David Jacobs created the female lead Amelia Lawson in his CBS series Paradise / Guns of Paradise specifically for Sigrid. She was the first Australian actress in a starring role in a US network series. The show ran for several seasons and Sigrid was awarded the highly prestigious Cowboy Hall of Fame award for best T.V. contribution to Western Heritage.

Sigrid has received multiple awards, award nominations, honours and medals for her work in front of and behind the cameras as well as onstage. Recent awards include best actress for the sell out Australian tour of The Blue Room. Sigrid toured nationally co-starring with Oscar winner Brenda Blethyn in Alan Bennett’s Talking Heads. Her performance as Desiree in Sondheim’s A Little Night Music with Anthony Warlow at the Sydney Opera House garnered rave reviews. Sigrid again teamed with Anthony Warlow for sell out seasons of Fiddler on the Roof in Sydney and Melbourne playing Golde.

The comedy drama SeaChange with Sigrid in the central role as Laura, became an Australian sociological phenomenon and an unprecedented ratings success for the National broadcaster. The term ‘SeaChange’ became part of the cultural vernacular and the show’s content and characters were dissected around the water cooler and in the national press. Sigrid received numerous awards and nominations for her performance. Sigrid recently received an ACCTA award for her portrayal of Judy Garland in Peter Allen – Not The Boy Next Door.

From the outset of her career as a child actor, Sigrid has been warmly embraced by audiences and critics. They have supported her forays into an unusually diverse range of formats and genres, with the national press coining the phrase ‘The Sigrid Factor’.

Sigrid has acted as MC for Australian appearances by international luminaries including Nelson Mandela and the Dalai Lama and was MC for the Centenary of Federation joint sittings of the Australian Parliament. In 2003 Sigrid was honoured as one of the top 100 Australian Entertainers of the century by the Variety Club and she is depicted in an honorary mural in central Melbourne’s ‘Walk of the Stars’.

Sigrid has also worked extensively behind the cameras on behalf of the film and television industry, the arts and various charities. She has served several terms as a director of both the Australian Film Institute and Film Victoria and was patron of Women in Film and Television. Sigrid was appointed to the Federal Government’s Commercial Television Production Fund in 1995. In 1999 she was invited by the Premier of Victoria to chair the Victorian Film & Television Taskforce, whose recommendations revitalised the Victorian film and television industry. Sigrid served on the board of the Malthouse Theatre 2007 – 2016. Sigrid continues her extensive work with charities including World Vision, Reach Foundation and Vision Australia’s Braille reading program for children.